About

If Mayaux’s choice of figurative painting at the beginning of the 1980s might have seemed “retrograde” in the eyes of his art school teachers in Nice, his recent interest in “native” forms and his taste for randomness and chance make him suspect of a regression that is even more serious, even more fraught with consequences.

On several occasions, he has already flirted with the “spirit of the cave.” He has been fascinated by “grotesques,” by the archaeological vertigo of an associative delirium. It was by a most “objective” coincidence that the discovery of antique grotesques was the result of …